josh waitzkin – the power of presence

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romance reclaimed – the grand budapest hotel

“To be frank, I think his world had vanished long before he ever entered it. But I will say — he certainly sustained the illusion with a marvelous grace.”

– Zero Mustafa, The Grand Budapest Hotel

I’m enamored by the language of Wes Anderson — the flair, the pomp. What is it about fancy language? What is it about a movie like The Grand Budapest Hotel that makes us want to stay there forever?

It’s a vision of a world that we would all like to inhabit. And it uses the language of world-construction as well, and we can all take a note from it. Because if you’re like me, you leave a cinematic experience like this with an unmistakable afterglow, and a linguistic aftertaste. You speak a bit more… grandiloquently. And rightly so — because there’s something special in the language of this film, and others like it. Exquisite, sophisticated language like this is something of a relic in our culture, viewed as artifice through the American lens. But there might be more to it than that.

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